Assigned Reading, Homework Schedule, and Class Agenda

 

SEMESTER TOPICS
Topic: Introduction to 18th-Century Counterpoint

• Historical Perspective
• The Nature of Counterpoint
• Strict versus Free Counterpoint

 

Topic: The Single Melodic Line

• Phrases and Cadences
• Periodic Phrases and Fortspinnung
• Melodic Contour
• Structural and Less Structural Notes and Events
• Harmonic Backgrounds
• Compound Line

 

 

Topic: Principles of Two-Voice Counterpoint

• Quality of Individual Lines
• Independence and Unity Between Lines
• Harmonic Backgrounds
• Cadences
• Consonance versus Dissonance

Topic: Two-Voice Species Counterpoint Exercises

• Note against Note (1:1)
• Two Notes against One (2:1)
• Nonharmonic Tones
• Placement of Harmonic and Nonharmonic Tones
• Parallelism in 1:1 and 2:1 Counterpoint

Topic: Chromaticism in Two Voices

• Essential and Nonessential Tones
• Secondary Functions
• Modulation
• Mode Mixture
• Cross Relations

Topic: Other Two-Voice Species Exercises

• Three Notes against One (3:1)
• Four Notes against One (4:1)
• Syncopation (Fourth Species)
   Suspensions
   The Anticipation
   Tied and Repeated Tones
• Fifth Species
• Dividing Rhythmic Activity between Voices

Topic: Two-Voice Binary Form Pieces

• Form and Structure
• Repetition, Variation, and Contrast
• Addition and Subtraction of Voice Parts

Topic: Imitative Counterpoint

• Imitation at the Octave
• Imitation at other Harmonic Intervals

Topic: Canon

• Technique for Writing Canons
• Special Canonic Devices
   Contrary Motion
   Augmentation and Diminution
   Retrograde Motion
• The Accompanied Canon
• Writing Perpetual Canons and Rounds

Topic: Invertible Counterpoint

• Invertible Counterpoint at the Octave
• Invertible Counterpoint at other Harmonic Intervals

Topic: The Two-Part Invention

• Motive, Countermotive, and Imitation
• Episodes, Middle Entries, and Final Statements
• Invention Construction and Formal Structure

Topic: Three-Voice Counterpoint

• Rhythmic Relationships in Three Voices
• Relative Importance of Voices
• Harmonic Considerations
• Chromaticism
• Converting 1:1 Three-Voice Exercises to other Species Patterns
• Imitation in Three Voices

Topic: Writing Three-Voice Pieces

• Three-Voice Preludes
• Three-Voice Periodic Dance Movements
• The Three-Part Invention (Sinfonia)
• The Trio Sonata
• Baroque Duo Sonatas

 

 

Topic: The Chorale Prelude

• Types of Chorale Preludes
• Writing a Three-Voice Chorale Prelude

 

 

 

Topic: Fugue

• The Fugue Subject and Answer
• Three- and Four-Voice Fugues
• The Fugue Exposition
• Episodes, Middle Entries, and Final Statements
• Stretto
• The Counterexposition
• Fugue Construction and Formal Structure

 

 

• MUS 550 Bibliography and Resources